Atomos HDR V SDR

 Which is right for you – High Dynamic Range V Standard Dynamic Range?

Last year saw a leap forward in technology that changes the way every professional works.

HDR (High Dynamic Range) is a “you have to see it to believe it” technology, pushing the boundaries of conventional capture and display capability and bridging the gap between what we see on TV monitors and reality as we see it with our eyes.

Rather than increasing the number of pixels we see, HDR revamps the brightness range we can see in a single scene – displaying brighter and darker parts in a scene at the same time.

In consumer terms, it means a sunset will look more vivid and life-like while in filmmaking terms it means you no longer clip highlights or sacrifice shadow detail.

What’s even better is that this giant leap forward in technology doesn’t come with an equivalent quantum leap in equipment or infrastructure upgrades.

The cameras you are using most probably already have the log HDR output required, unlike 4K the file size does not increase, content developers such as Netflix and the BBC are pushing for HDR content for distribution and end users are already buying HDR flat screens for the home.

The missing piece of the HDR puzzle lies in the field monitoring and post production editing workflows. Of course, as Atomos have done with HD and 4K, they’ve worked hard to deliver a solution to make the whole HDR process faster, easier and more affordable.

With such a powerful creative weapon as HDR it is still important to understand not every scene needs to be monitored in Max HDR and there are good reasons to still monitor in SDR (Standard Dynamic Range).

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